中文摘要：

伴随着图像时代来临、视觉文化勃兴和人类视觉审美范式的嬗变，人类步入了一个景观社会和消费社会双重变奏的新历史阶段。在此背景中，传统艺术面向视觉化、景观化审美倾向的不断革新求变，成为历史的必然。20世纪以来，为应对影视媒介蓬勃发展的挑战，戏剧创作者和理论家努力突破剧场性的局限，进行了多方面的探索与实践。从文化艺术学的意义而言，它既像一块基石，以其鲜明的民族气质和典雅的美学追求标志了中国景观戏剧的诞生；又像一方路标，昭示着民族景观戏剧未来的发展方向。

英文摘要：

With the advent of the visual era, the prosperity of the visual culture and the transformation of the human aesthetic vision, a new historic period of the double transformation of both spectacle and con sumption society has come. In this background, it is evitable that the traditional art is undergoing a con stant change towards visualization and scenery. Since the 20th century, in response to the challenge from films, television and other mass media, dramatists and drama theoretician have been exploring and practi cing in an effort to break through its limitation. From the perspective of the cultural artistry, it serves as a cornerstone, marking the birth of the Chinese scenery drama with its remarkable national spirit and ele gant aesthetic pursuit, it serves as a road sign, showing the direction of its future development.